The BD-artists are busy!
Please find an overview of some of their recent activities below.
Mike BLOW recently took part in the ‘Image & Sound’ Workshop at the Institut Français in Athens, run by Michael Ackerman, Stéphane Charpentier and Alyssa Moxley. Void edited, printed and bound together with the participants “Almost True”, a limited edition publication with the works produced during the week.
“Almost True” comes inside a box, with an installed sound module, 2 prints by Michael Ackerman and Stéphane Charpentier and will be available online soon.
On Friday 29 June Mike BLOW will further take part in a realisation of Cornelius Cardew’s graphic score ‘Treatise’ at the R10 space in Leicester – find more info here.
Sara BOMANS is currently taking part in the group exhibition Forza Femina in Harelbeke, which highlights every day experience and actual themes in images by female artists that inspire surprise. Bomans shows a large selection of her Secret Thoughts and hair drawings.
Th exhibition runs until 15 Juli at the Kunstenhuis, Markstraat 100 in Harelbeke, open Thursday – Sunday 2-5 PM, free entry. More info (in Dutch) here.
Finally, Alexendra DEMENTIEVA is this week taking part in the XIth edition of the international festival Cyfest on art and technology in Reggia di Caserta, Italy.
The festival opens 22 June and runs until 1 July. Find more info (in Italian) here.
On Saturday 16 June the poet and researcher Florence Jou will perform “À la recherche de l’atelier de Dom” (Looking for Dom’s studio) in answer to an invitation by the Friends of the Museum of Nantes and the assocoation (n) of Dom Leroy.
Departure tram 3 halt Trocardière (Rezé), 20h30. Duration one hour.
Message +33(0)624634103 to register
pour le 16 juin, pour une recherche de l’atelier de dom, (une photographie en amont, avec des bidouilles de fils, du bricolage), penser à « un monde dans lequel la vie de chaque créature équivaut à une musique en contrepoint » (Tim Ingold), penser à ce que construire vient d’habiter ( ), penser à une vie qui ne commence ni à un moment ou point donné( ), penser à ce que nous serions fabriqués de verbes à l’infinitif, penser à retourner pour avancer, penser aux bêches, pliures, fissures, …
for the 16th of june, for a research of the studio of dom, (a mounted photograph, with wire hacks, DIY), thinking of “a world in which the life of each creature is equivalent to a melody in counterpoint” (Tim Ingold), thinking of what will inhabit what we build ( ), thinking of a life that neither starts at a moment or a given point ( ), thinking of what we fabricated with verbs in the infinitive, thinking of returning to move forward, thinking of spades, folds, cracks, …
re.che.dom. a.lier. re.cher. a.dom.li.er. a.dom.che. a.te. re.a.te.
Mobile radio device in preparation and kit for the performance ‘À la recherche de l’atelier de Dom’.
AnneMarie Maes is currently in Brasil where she will present her workshop The Sound Beehive Experience, Bio Art & Technology during the 8th Hiperorganicos Symposium. The workshop will take place in the Open Lab at the Museum of Tomorrow.
Saturday 26 May, 10h30-12h30
All info (in Brasilian) on the website of the conference.
Next week Maes will take part in Hybrid Labs at Aalto University with The Intelligent Beehive Project.
Hybrid Labs is the third edition of the Renewable Futures conference that aims to challenge the future of knowledge creation through art and science. The HYBRID LABS will take place from May 30 to June 1, 2018 at Aalto University in Espoo, Finland, in the context of the Aalto Festival. Celebrating 50 years of Leonardo journal and community, the HYBRID LABS conference will look back into the history of art and science collaboration, with an intent to reconsider and envision the future of hybrid laboratories – where scientific research and artistic practice meet and interact.
Thursday 31 May, Parallel sessions 2 – Living Things, Hybrid Reality, Otakaari IX, 2-4pm – The Intelligent Beehive Project.
The full programme can be found here.
Alexandra Dementieva at ADAF 2018
The 14th edition of the Athens Digital Arts Festival (ADAF) explores the unknown future of the Technological Apocalypse through art, science and technology. This year’s theme is ‘Singularity Now’ with singularity being “associated with infinity, the unknown, and the beginning of universes, both physical and conceptual.” The question is how this notion can be linked to art and technology.
Within this context Alexandra DEMENTIEVA‘s installation ‘Breathless’ (2012) was selected as an answer to the call “to submit works and achievements which outline, comment, foresee, or determine the upcoming singularity, the human role in this new era, the role and form of art and technology in it”.
The installation consists of three interactive light objects. Two of them are directly connected to an RSS news feed, which keeps track of around 50 newspapers. Its program is set up to search words and notions related to the concepts of fear and desire – motors of human behaviour.
The third object is wirelessly connected to the street and the number of its diode lines illuminated depends on the levels of noise pollution. Inside each of objects is an anemometer. The viewers can blow on the device transforming the work with their breath, influencing the lighting and mutating the words into meaningless marks.
Alexandra DEMENTIEVA‘s main interests focus on social psychology and perception and their application in multimedia interactive installations. The projects explore the spectator’s depths of perceptual experience and the interaction of the individual spectator with the exhibition as well as with other visitors.
Thursday 24 – Sunday 27 May 2018
Megaron Concert Hall, Athens
10 – 23pm
Semiconductor at Le Lieu Unique, Nantes
- a solid substance that has a conductivity between that of an insulator and that of most metals, either due to the addition of an impurity or because of temperature effects. Devices made of semiconductors, notably silicon, are essential components of most electronic circuits.
The British duo Semiconductor – Ruth Jarman and Joe Gerhardt – have chosen their name clearly well. In their work, which consists of installations and films, they make the connection between art, science and technology. Or rather they attempt to conduct, “lead or guide (someone) to or around a particular place”. They “explore the material nature of our world and how we experience it through the lens of science and technology, questioning how these devices mediate our experiences”.
Semiconductor’s first major solo exhibition in France is named after the animated film installation ‘The View from Nowhere’ (2018). Its title alludes to the idea of scientific objectivity and is a reference to the work of the philosopher Thomas Nagel with the same title in which he confronts the objective and subjective view on the world with each other (Oxford University Press, 1986). Semiconductor’s installation is based on their observations during their residency at CERN, the laboratory in Genève that studies fundamental particles and that houses the Large Hadron Collider.
Le Lieu Unique at Nantes, that co-produced the exhibition together with FACT (Liverpool), is the only art partner in France for CERN and has in the past also shown work of other artists that were CERN residents such as Ryoji Ikeda with supersymmetry (2014). Since Patrick Gyger became the art’s centre director in 2011 the exhibition program has revolved explicitly around the idea of utopia, with a specific interest in science fiction, but also and clearly connected to it, the link between art and science. Housed in the former LU biscuit factory since 2000 the art centre is therefore in more than one sense a truly unique place.
Apart from ‘The View of Nowhere’ the exhibition shows three older installations that all evolve around the analysis of the material on quantum level: ‘Where Shapes Come From’ (2016), ‘Through the AEgIS’ (2017) and ‘Parting the Waves’ (2017). The last two installations act more as cinematic sculptures, creating black and white or colourful graphic patterns based on the study of quantum particles and sound. A purpose-built cinema within the large exhibition space also shows an overview of older films from the period 2006-2012. Based on scientific material or archival documentation from various institutions the results Seem to position themselves somewhere between fact and fiction. Especially ‘Indefatigable’ (2010), in which some kind of shrub is meticulously dissected borders on the absurd.
What connects the work of Semiconductor and makes it so intriguing is the view that they give us of a world that continuously surrounds us and that we are part of, but which we are hardly or not at all aware off. On the one hand, it documents the spaces in which science and technology take place, the weird messiness of these workshops and the people that work there. Through the added animation, the science and technology itself or the phenomena it studies, which are usually not visible for the naked eye, get pictured as well. Materiality is thus confronted with a certain kind of immateriality. While immersing myself in the installations and films I had in any case the impression to be transported to another side of life and thus to get a true and new insight in it. Semiconductor’s work clearly goes beyond a purely didactic quality as it is simultaneously poetic and inventive, thus combining the objective and subjective in a brilliant way. And that is exactly what binds or can bind art, technology, and science.
Until 3 June 2018
Le Lieu Unique
Quai Ferdinand-Favre, Nantes
Tuesday-Saturday 2-7pm; Sunday 3-7pm
Images from Semiconductor ‘Where Shapes Come From (2016)
Happy to announce my review of the English translation of Brouhaha by Lionel Ruffel in this month’s Leonardo Reviews. Ruffel’s book was published earlier this year by the University of Minnesota Press. Please find the review here.
Please note: So far I announced these reviews and other writing via my blog edithdoove.wordpress.com, but for sake of clairity I will from now on only use the Bureau Doove site.
The interactive sound installation Colony by artists Alison Ballard and Mike Blow continues its tour and will hit Cheltenham Jazz Festival Saturday 5th and Sunday 6th May 2018.
Bureau Doove showed its pre-cursor POD during the first Plymouth Art Weekender in 2015.
Saturday 5th and Sunday 6th May 12-8pm, free
Cheltenham Jazz Festival – Montpellier Woods
More info here
Produced by Hogarth Productions, images Farrows Creative.
For their 5th Textally Active project ‘We Can Do IT – A Code for Plymouth’ Driftingspace are calling out for manifestos and proposals.
The full text of their call reads as follows:
Is there a code for the ideal city? How do we create it? Is such a thing as the ideal city even possible? Is your Utopia my Dystopia? Is my playground your prison? What is democratic space?
In your city, where is the Underbelly? The Salacious? The Salubrious? Where is Toytown Green? The Docks? Where is the Knowledge? Financial Row? This is our city. Is it yours?
Jane Jacobs says “Cities have the capability of providing something for everybody, only because, and only when, they are created by everybody.” Words without meaning? Or words with purpose?
Jane Jacobs warns “Some who are fortunate enough to have communities still do fight to keep them, but they have seldom prevailed. While people possess a community, they usually understand that they can’t afford to lose it; but after it is lost, gradually even the memory of what was lost is lost.”
Are we there? Are we lost? We had 100 years of progress. How do we get back to where we were?
WE ARE SEEKING CREATIVE RESPONSES TO SUPPORT A CONFERENCE ON CITIZENSHIP, COMMUNITY, HOUSING ACTIVISM, POLITICAL ALLIES, AND THE POP UP CITY.
WE ARE SEEKING IDEAS AND MANIFESTOS. DIGITAL MODELS. ARTEFACTS. PROVOCATIONS. WORKS IN PROGRESS.
WE ARE SEEKING THE IDEAL CITY. THE CITY OF/FOR THE PEOPLE, LED BY THE PEOPLE.
THE CITY OF IDEAS AND DREAMS AND AMBITIONS AND HOPES.
WE ARE SEEKING THE CITY THAT IS VISIBLE IN THE CORNER OF YOUR EYE. A CITY THAT IS WALKABLE AND LIVABLE, AND CREATIVE AND VIBRANT AND FAIR. A CITY OF COMMUNITIES AND SOCIETIES ALL LIVING FOR THE COMMON GOOD. SHARING AND CARING ABOUT WHAT THE CITY COULD AND SHOULD BE.
WE ARE SEEKING MOVEMENTS. THOUGHTS. FUTURES, NOTIONS & PROVOCATIONS… OR A RETURN TO FORM?
WE ARE SEEKING OTHERS TO HELP US MAKE SENSE OF A QUESTION THAT IS LEFT PURPOSELY AMBIVALENT.
PLEASE SEND MANIFESTOS AND PROPOSALS TO:
WITH THE SUBJECT HEADING: A CODE FOR PLYMOUTH
DEADLINE: MIDNIGHT, MONDAY 21ST MAY, 2018
The Textually Active conference will take place in Plymouth, UK on
Saturday 2nd June 2018 from 9am-5pm, venue to be confirmed.
Very excited to be working on the coordination of the project ‘Concerts Filmés’ (Filmed Concerts) by Jérôme Joy.
Joy is a composer who has been active on the international scene of experimental music (electronic, improvised, instrumental and networked) since the beginning of the 1980s. For this project Joy selects locations in and around Saint-Nazaire that normally are improbable or unlikely to be used for music but that are chosen for their specific acoustics for which he creates new compositions.
The concerts are performed without an audience but are filmed to give access to locations that would otherwise be unaccessible and unknown.This gives a new perspective on our daily surroundings and demonstrates that “places are instruments as well.”
A pilot version was created in april-may 2017. The percussion quartet Qwat? (Jean-Christophe Feldhandler, Matéo Guyon, Jérôme Joy, Bruno Lemaître) played Noisense #2 for 4 tam-tams, a work by Jérôme Joy, in the Forges de Trignac. You can see the filmed version here.
To be continued.
According to Jérôme Joy, with whom I toured the harbour to visit locations for future art projects, Saint-Nazaire has the tendency to make big things. An early example is the ‘hydravion Richard-Penhoët‘of which only one prototype was build and that had five motors of 420 hp . Today it are the enormous cruise ships and wind turbines of which a floating prototype has been developed. But during our trip we also encountered some intriguing big ‘sculptures’.